It’s a high-profile demonstration of the fact that those who created this much-loved universe have lost their understanding of what originally made it so engaging. [Apr 2006, p.91]

You get the impression the only person who cares about Kain's legacy any more is the writer. The turgid battling lets an average game down. [Jan 2004, p.107]

But it’s hard not to be disappointed that one of gaming’s true visions – of life’s multiplicity and constantly changing nature – should end up broadening itself by slumping into a worn groove of genre pieces and business dogma.

While the basic mechanic shows promise, the game itself is purely mechanical, and predictably joyless as a result. [July 2006, p.92]

The first Flipper wasn't a great piece of work, necessarily, but it had its own agenda and was powered by some pleasantly esoteric coding. The sequel, wonky and compromised, can't even claim that honour.

We could have coped with technical issues, curious UI choices and unsophisticated mission design had Saints Row given us even half as many memorable moments as previous entries "The Third" and "IV". We could even forgive a Portal joke that would have felt old hat a decade ago. But this whole enterprise feels misbegotten, even before the story goes wildly off the rails, belatedly introducing a new threat, before wrapping up with an ending that almost feels algorithmically generated. [Issue#376, p.100]

There’s a nugget of brilliance at the heart of Micro Machines that’s too simple and solid to crush, it’s true, but the laughable track editor, fussy interface and baffling load times certainly don’t justify this release. [Aug 2006, p.93]

The overall impression is of a game that’s both bravely and badly designed, and weighted towards the latter. [July 2006, p.84]

The possibility of this all coming together in a more flexible and engaging manner is still a welcome one. But, for a game based on a culture of reputation, craftsmanship and leaving a mark, Getting Up is one that'll pass by largely unnoticed. [Mar 2006, p.86]

And in declining to make any kind of meaningful statement about its environmental themes, After Us only demonstrates that, like its protagonist, it has nothing to say for itself. [Issue#386, p.116]

This is very much Inafune by numbers, a Mega Man game in all but name, and not a particularly good one. [Issue#296, p.118]

A pretty but vapid experience. [Sept 2010, p.98]

An over-complicated take on a classic recipe.

If the idea was to get you into Fury's angry mindset, then job done - though in truth you more often feel like one of her lesser-known cousins, Boredom or Irritation. [Issue#328, p.112]

Too often feels like a predetermined narrative that's indifferent to your involvement. [Issue#373, p.114]

Unless you possess a particular zeal for collecting and upgrading slightly different weapons, the familiarity of slicing through yet another batch of spawning creatures soon grinds way at the thin gameplay. [June 2009, p.97]

Somebody up there probably regards this as a trailblazing taste of high-concept, one-size-fits-all blockbuster games to come. Consider that, and know true Primal fear. [March 2003, p.92]

Were it not for the driving model, which against all odds remains a pleasure, and desperately rare moments of imaginative mission design, this would be an abject failure. As it stands, it's simply a serious one. [Issue#314, p.114]

As the credits roll, and we once again consider what Fort Solis is, the Steam blurb reminds us of another thing it isn't. A "riveting thriller", after all, requires thrills - and those, like the station's employees, are conspicuous by their absence. [Issue#389, p.110]

The virtual interface does little to help players and, if anything, slows the game down as you wait for it to catch up with things that are already evident to players – such as victory, failure and boredom. [Dec 2007, p.89]

Unfortunately, no sooner does Geist suggest it can blossom into something fresh and exciting that it's undermined at every turn by a frustrating insistence on being nothing more than a mundane firstperson shooter. [Oct 2005, p.88]

Feels cheeky to be criticising a scrolling beat 'em up for being too shallow, but TMNT is possibly one of the most tedious ever. Repetition is only acceptable when you're repeating something gratifying. [Jan 2004, p.109]

It's a laugh, albeit at the expense of itself. [Issue#314, p.118]

There's a fine line between graphic artistry and immaturity, and while Alter Echo makes an attempt at the former, it probably falls into the latter. The hues are creative enough, and the faux-naturelle structures suitably curled and alien but perhaps the real problem is that a world made from plastic would look as dull as it sounds. [Nov 2003, p.109]

By keeping it real, the game retains many of the things that make navigating the real city more of a pain than a pleasure: countless faceless skyscrapers don’t make for memorable landmarks, and facing the wrong way down a jammed one-way street when you’re in a hurry to get somewhere is the sort of challenge few will relish. [Jan 2005, p.91]

Certainly, releasing it so close to Halo Wars suggests deliberate commercial suicide - that it’s genuinely progressive ideas will be ignored and lost as a result is a minor tragedy. [Apr 2009, p.118]

The lasting impression is of a game that, for all its charms and potential, simply wasn't quite ready for takeoff - and that what might have been won't arrive for a couple of years yet. [Issue#331, p.102]

A stunt-filled shooter in the vein (but not the league) of Stranglehold, it's a game that takes control away, reverts to how things used to be done, and judders between debilitating combat and haywire presentation. [May 2009, p.92]